David Bowie – Aladdin Sane (1973)

Artist Credit
Jo Blair Project Producer
Trevor Bolder Bass
David Bowie Arranger, Composer, Guitar, Harmonica, Moog Synthesizer, Primary Artist, Producer, Saxophone, Vocals
Aisha Cohen Associate Project Coordinator
Brian Duffy Cover Design
Ken Fordham Flute, Saxophone
Juanita “Honey” Franklin Vocals (Background)
Mike Garson Guest Artist, Piano
Mick Jagger Composer
Pierre LaRoche Make-Up
Linda Lewis Vocals (Background)
G A MacCormack Percussion, Vocals (Background)
Scott Minshall Design
Mike Moran Engineer
Celia Philo Cover Design
Nigel Reeve Project Producer
Keith Richards Composer
Mick Ronson Arranger, Guest Artist, Guitar, Mixing, Piano, Vocals
Ken Scott Engineer, Mixing, Producer
Ray Staff Mastering, Transfers
Sukita Inside Photo
Brian Wilshaw Flute, Sax (Tenor)
Mick “Woody” Woodmansey Drums

Ziggy Stardust wrote the blueprint for David Bowie’s hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers “Watch That Man,” “Cracked Actor,” and “The Jean Genie.” Bowie follows the hard stuff with the jazzy, dissonant sprawls of “Lady Grinning Soul,” “Aladdin Sane,” and “Time,” all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic “Drive-In Saturday” is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of “Panic in Detroit,” as well as on his oddly clueless cover of “Let’s Spend the Night Together.” For all the pleasures on Aladdin Sane, there’s no distinctive sound or theme to make the album cohesive; it’s Bowie riding the wake of Ziggy Stardust, which means there’s a wealth of classic material here, but not enough focus to make the album itself a classic.

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